The sce­no­grap­hic trans­for­ma­ti­on of spa­ces around Filip Vervaet’s sculp­tu­res intends to cre­a­te paral­lel worlds that you can phy­si­cally enter and in which spa­ce, light and reflec­ti­on take you through chan­ging per­cep­ti­ons and mea­nings. His fas­ci­na­ti­on regar­ding the rela­ti­ons­hip bet­ween humans, arti­fi­ci­a­li­ty and natu­re always ini­ti­a­tes the making of the­se environments.

Ster Borgman sees them­sel­ves as an alche­mist; a magi­cal sci­en­tist. They work with natu­ral pro­ces­ses and their trans­for­ma­ti­ve qua­li­ties. Ster works on the bor­der bet­ween che­mistry, art and magic. As magi­cal research, ster melts natu­ral pig­ments in glass. When you look at glass, it pre­tends not to move, but when you look away it starts drip­ping and lea­king all over: glass is slow, but always moving. Ster uses only reu­sed or natu­ral mate­ri­als and shows the life in inor­ga­nic materials.

Mainly influ­en­ced by her inte­rests in practices/​teachings such as Reiki and Shiatsu, Hannah Kiefmann’s artis­tic prac­ti­ce evol­ves around the expe­rien­ce of being in touch with her envi­ron­ment through the medi­um of her hands. The direct con­tact of her hands, the sen­su­al touch, are essen­ti­al in the pro­cess of pain­ting and the fur­ther enga­ge­ment with other mate­ri­als such as clay and wood. She deta­ches herself from the usu­al pat­terns of loo­king with her eyes, and focu­ses more dee­ply on what lay­er of rea­li­ty might exist just under­ne­ath her fin­ger tip.

Roeland Rooijakkers’s prac­ti­ce revol­ves around the act of fora­ging in natu­ral lands­ca­pes. Guided by the sea­so­nal tides, he works exclu­si­ve­ly with mate­ri­als that he can col­lect in the envi­ron­ment. His mate­ri­als ran­ge from orga­nic to inor­ga­nic, inclu­ding rocks, sand, clay, grass, lea­ves, flo­wers, bran­ches, and fun­gi. Like an alche­mist, he trans­mu­tes the­se ancient mate­ri­als into new forms and instal­la­ti­ons. His works take on a medi­ta­ti­ve charac­ter and reflect the tran­qui­li­ty Roeland expe­rien­ces when he explo­res natu­re. Through his instal­la­ti­ons, Roeland wants to emp­ha­si­se the pre­sen­ce, beau­ty, and value of the non-human by pre­sen­ting the mate­ri­als as auto­no­mous beings that coexist with us in the col­lec­ti­ve world we live in.